E. Andruschenko

Contemporary opera «under the badge of musical»: prerequisites, sources, tendencies (article 1)

The subject of this article is connected with synthesizing processes in contemporary opera theatre, which are inspired beginnings and development of new genre varieties (rock opera, folk opera, song opera etc.) as well as appearance of highly promising «mixings». In the author’s opinion, the interactions between opera and musical may be represented among this «mixings». The named interactions are characterized by great intensity and impressive scope of reciprocities. In particular the researcher’s attention is concentrated upon the productive influences of the «epoch-making» musicals conformably to artistic conceptions of newly-created operas (the 1980–2000s). The mentioned influences marked by means of the term «begetting model» quite often are demonstrated by composers themselves (A. Zhurbin, A. Rybnikov, G. Gladkov, A. Kolker, E. Artemiev and others). Besides that, a «veiled» influence of «begetting model» in series of contemporary operas is discovered by means of analysis and proceeding from conditionality of the concrete author’s decisions by social-cultural and biographical context. The researcher examines operas «Scapin’s Tricks» by Yu. Falik, «The Dead Souls» by A. Pantykin, «A Chinch» by V. Dashkevich as representative examples from position of genre-stylistic interpretation of the origin «models» – musicals «Cats», «The Phantom of the Opera» and rock opera «Jesus Christ Superstar» by A. Lloyd-Webber appropriately.

Key words

opera, musical, synthesizing processes, «begetting model», genre-stylistic interactions, A. Lloyd-Webber, Yu. Falik, V. Dashkevich, A. Pantykin.

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